F65: Tomorrowland (Full Trailer)

Grug

Grug

Veteran
And this is why it's a shame more productions haven't looked into the F65...


This is the kinda 'Sony Look' that I can get behind (that, or Claudio Miranda is just a genius... which is also quite possible).
 
Isn't F65's relative lack of popularity due to its work flow rather than its "look"?
 
Why did sony kill this camera ?

They should relaunch and sell for the same price as the F55. (IMO the F55 doesn't even come close to this camera )
 
Surf it Mike said:
Why did sony kill this camera ?

They should relaunch and sell for the same price as the F55. (IMO the F55 doesn't even come close to this camera )
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If they'd just come up with a simplified and revised recorder that could do raw and ProRes/DNxHD they'd be laughing, particularly if they could record raw and ProRes Proxy files at the same time (they can include XAVC and SR if they really want to, but they're really not as important).

They'd also need to allow the media to be read by a simple USB3/thunderbolt card reader (like the one that's paired with AXS-R5 recorder at the moment).

A second recorder option for the camera that took advantage of the wonderful sensor tech, but provided the simplicity of an Alexa-like data workflow could totally revitalise the camera's appeal IMO.
 
DPStewart said:
The F35 and the F65 are monster tools of art.
But perhaps not tools of commerce.
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Very well said! I had this camera for 2 weeks to decide if I wanted one. Absolutely the best image of any camera I've played with--STUNNING! Size and workflow is a deal killer though. Ended up with Epic Dragon due to "manageability". F65 images are darn near perfect to me, however!
 
FYI there is a 1080P ready to go mode, SR Codec. I don't know why Sony didn't use ProRes or DNxHD, possibly a licensing one. Not sure.

There is a USB 3 card reader for the F65's cards now.

There are a lot of feature films that have used the F55 when they really should have used the F65 and I don't really know why. The F55 is not a true 4K camera in my opinion. A nice camera, yes, but not real 4K. It's a lower res sensor than the F35 (that is why I would only go to the F65)
 
F65 some consider it the better camera out of Arri , Red, Sony lines.....yes even Alexa. With the F55, Sony drops of the list.

P.s given the huge leaps in data loading & handling I'm not so sure huge files are the issue they once were. Have said that the f65 becomes really big physically when coupled with that Sony data recorder .....so no flying off a gimbal ; ) !

P.S.S from memory this camera puts the sensor at an angle helping create "the f65 look" neither Arri or Red or the F55 do this.
 
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hell, just give us 4k SDI output, CD, Atomos, Sound Devices would take care of the rest. Every time I look at an F65 I can't help but think, it's not that big without that damn recorder. The success of the F35 "revival" has been due mainly because it outputs a high quality HD signal that we can record onto modern media. I know the F35 owners yearn for a higher resolution output to keep her in the game, but the F65 is a lot more likely to get a 4k feed because 4k screens are popping up on set. They still show the F65 at trade shows as their flagshig cinema camera. F35 has garnished a small following here because it can shed it's old recording system. The F65 may also see a 2nd life among renegades on this forum, but this depends a lot on a higher quality SDI feed. When these dip down to, 10-15k, which they will, it would be a lot more interesting if it can be paired with a 5k recording system like a Odyssey 7Q. Just like HDCAM tapes that the F35 originally ran on, or the Codex M recorder, the high end media systems will remain at a higher cost than the camera bodies. The success of the F65 into an indie filmmaking tool is very possible. I think a lot of F35 users share the same sentiment that there is something very special (and expensive) in the sensors of the Sony top line, although the F55 is superior in a tech/form way, it falls short with the most important component. F35 and F65 are in the elite sensors that were designed to capture the very best cinematic color, motion and detail, without a big emphasis on cost/performance. I think the F55 is all about profit to a company like Sony, they know F65 isn't going to make billions, the F65 for bragging rights to show they can be the top dog. We stand to benefit greatly when that top dog is forgotten for the flashy new plastic cameras.
 
yachacha said:
The success of the F65 into an indie filmmaking tool is very possible.... F35 and F65 are in the elite sensors that were designed to capture the very best cinematic color, motion and detail, without a big emphasis on cost/performance. I think the F55 is all about profit to a company like Sony, they know F65 isn't going to make billions, the F65 for bragging rights to show they can be the top dog. We stand to benefit greatly when that top dog is forgotten for the flashy new plastic cameras.
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I would expect new camera lineup from Sony to replace the current F5/55/65 series. Some improvements might be marginal in the IQ but substantial in the work flow aspect.

No guarantees it'll be so, but everyone is updating their lines, so there's no reason for Sony to keep its four year old product around. The curious part is whether the F65 sensor migrates down to the F55 tier camera while the new top model will have either an FF or even a MF size one a la the 65mm Alexa. Sony does make the medium format sensor currently used in Hasselblatt and Pentax cameras but it'll need a ton of processing power to get it to 6K/8K.
 
The F65 was way ahead of its time. It may be replaced this year, it may not. I hope not!

In reality the SR-Lite codec is less data than the ALEXA's ARRIRAW in 16:9. I think a lightly compressed 4K would not be too dissimilar in file size in all honesty.

You gotta feel sorry for Sony. They try very hard.

Personally I think the only thing that is a real stumbling block is the cost of the memory cards. It is sickening.
 
Well I guess even if the cards are made from "unobtanium" they would still be cheaper on a per second basis than film.
 
DLD said:
I would expect new camera lineup from Sony to replace the current F5/55/65 series. Some improvements might be marginal in the IQ but substantial in the work flow aspect.

No guarantees it'll be so, but everyone is updating their lines, so there's no reason for Sony to keep its four year old product around. The curious part is whether the F65 sensor migrates down to the F55 tier camera while the new top model will have either an FF or even a MF size one a la the 65mm Alexa. Sony does make the medium format sensor currently used in Hasselblatt and Pentax cameras but it'll need a ton of processing power to get it to 6K/8K.
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The trick Sony needs to pull is to rerelease the F65 under a new name, F70 or something completely new like CineAlta 1, with a new body and better workflow. Suddenly they have the best actual 4k camera available, in a moment where all the internet based networks are demanding 4k acquisition and Arri is in an odd place in that market. Everyone says the Varicam 35 came too late, and yet if it manages to be a workflow/user friendly alternative to the Alexa that shoots 4k, it's in a decent spot due to people's aversion to Sony/RED.

They kinda already tried to do this with the F55, but I'd love to see them go all out just to bring the full capabilities out. Give it a 4:3 sensor too. I doubt they'll try it, unless the F55 is selling a ton and people seem to want to want an upgrade over it, because of how badly they lost out on the F65 the first time around. They learned their lessons, a bit, as the F55 proves, and I doubt they'll pursue this avenue until the next standardized evolution of cinema cameras takes place (like 65mm, 8k or DR).

Edit: I'd love to own an F65 one day though, and call people whiners for not realizing that it's still much smaller than a Panaflex since it's without mag.
 
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The F55 is a pretty nice camera. Sony learned a lot of lessons with it. But for a full-on feature film, I would not consider it as in my opinion the image quality is not "4K" worthy - and if I am not shooting for 4K, I might as well be on the F35...
 
The F55 offers a lot more than just 4K. When you consider the footprint alone, quality of the SR codecs available, now ProRes, and of course 16-bit RAW if appetites need it, its all there.

It's one helluva "HD" camera too. :thumbsup:
 
Grug said:
If they'd just come up with a simplified and revised recorder that could do raw and ProRes/DNxHD they'd be laughing, particularly if they could record raw and ProRes Proxy files at the same time (they can include XAVC and SR if they really want to, but they're really not as important).

They'd also need to allow the media to be read by a simple USB3/thunderbolt card reader (like the one that's paired with AXS-R5 recorder at the moment).

A second recorder option for the camera that took advantage of the wonderful sensor tech, but provided the simplicity of an Alexa-like data workflow could totally revitalise the camera's appeal IMO.
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+1 Spot on.
 
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